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Pulp Librarian Profile picture
@PulpLibrarian
Sep 25, 2020 • 18 tweets • 7 min read • Read on X
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Today in pulp... I'm gonna party like it's 1989!

Come with me... #FridayFeeling
Mondo 2000, 1989. New #Cyberpunks start here...
Rowan Atkinson in The Sneeze, by Anton Chekhov. Aldwych Theatre, 1989. #COVID19
Who calls a laptop "Stacy"? Is it a tribute to Stacy Keach?

The Atari Stacy, 1989.
Not the Rolling Stones. Nope...

Alien Nation: The Series (1989)
ALF (1989). "You are entering the fandom zone - HA!"
Party time! Excellent! Ahem... Andy Jones interview, Kerrang (1989) #rpg
Duck Tales ("a-woo-hoo!!") Nintendo Power magazine, Sep/Oct 1989.
Stone wash or snow wash? Levis 900s, 1989. Not ripped you'll note...
"Britain to split! Musical differences blamed."

Q Magazine's prediction for 1989...
Melody Maker singles review:22 April 1989.

All that indie vinyl, lost like tears in rain...
The Punisher (1989). Its an underrated cult classic - don't @ me!
Julianne Regan! *Swoons*

All About Eve. Melody Maker, September 1989.
NOT Robert Pattinson at the bottom there. Nope...

Record Mirror, September 1989.
Sunday telly in 1989. Lucky, lucky us...
Mind that blowhole Knobil!

West Of January, by Dave Duncan. Del Rey, 1989.
OS/2! This is how I work from home! Računari, July 1989. #Yugoslavia
So farewell 1989. A time when we had less things to worry about... #FridayFeeling

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More from @PulpLibrarian

Pulp Librarian Profile picture
Sep 1
Today in pulp, one of the most influential and outrageous illustrators of the Italian Italian fumetti scene: Emanuele Taglietti!

This will be interesting... Image
Emanuele Taglietti was born in Ferrara in 1943. His father worked as a set designer for director Michaelangelo Antonioni, often taking Emanuele with him on set. Image
In the 1960s Taglietti moved to Rome, where he studied stage design. He began a successful career as an assistant art director, working for Federico Fellini and Marco Ferreri. Image
Read 17 tweets
Pulp Librarian Profile picture
Aug 25
"He lay beside the gently whispering stream - murdered!"

Scales Of Justice, by Ngaio Marsh. Fontana, 1958. Image
"Sucked to death in a seething cauldron of mud!"

Colour Scheme, by Ngaio Marsh. Fontana, 1960. Image
Death amongst the darts and drinks...

Death At The Bar, by Ngaio Marsh. Fontana, 1956. Image
Read 10 tweets
Pulp Librarian Profile picture
Aug 18
Today in pulp... a few covers by Reginald Heade. Image
Vice Rackets Of Soho, by Roland Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Sinful Sisters, by Ronald Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Read 16 tweets
Pulp Librarian Profile picture
Aug 16
Time once again for my occasional series "Women with great hair fleeing gothic houses!"

No, I hadn't forgotten... Image
Terror On Duncan Island, by Caroline Farr. Signet Gothic, 1971. Cover by Allan Kass.

Note: this is a sea-circled island. None of your oxbow lake nonsense here... Image
The Fortune Hunters, by Joan Aiken. Pocket Books, 1972.

When fleeing a gothic castle be sure to colour co-ordinate! Image
Read 18 tweets
Pulp Librarian Profile picture
Aug 13
If the spacesuit is the symbol of progress, the gas mask is the sign of the apocalypse. In popular culture it signifies that science has turned against us. It's the face of dystopia.

Today in pulp I look at the culture of the mask!
Image
Image
The first chemical masks were work by Venitian plague doctors: a bird-like affair, the beak stuffed with lavender, matched with full length coat and hat. It was a terrifying sight - the grim reaper come to apply poultices to your tumours. Image
But it was poison gas, first used at the Second Battle of Ypres in 1915, that led to the modern gas mask. At first these were cotton masks treated with chemicals. However their protection was limited. Image
Read 19 tweets
Pulp Librarian Profile picture
Aug 10
It's now over half a century since 1970, and I'm starting to wonder if we should bring back its concept of gracious modern living... Image
You see we've grown so used to Swedish-style modernism that we've sort of forgotten that maximalism, rather than minimalism, was once the sign of a cultured abode. Image
The 1970s in many ways reached back to the rich ideas of Victorian decor: heavy, autumnal and cluttered. Home was meant to be a baroque and sensual experience, rather than a 'machine for living in.' Image
Read 10 tweets

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